It has been a decade since I worked on this advertising campaign for the film Daredevil, and in this post, my PART III for my work on the project, I have put up a series of 3D illustrations that I did for Art Director Josiah Ludovico at BLT.

His idea was to do a variety of stylized buildings that together form the two D's in the Daredevil Icon with the Double D's. I did a variety of designs, and angles with cross-crossed D's, and parallel ones, and some floating in the clouds[ like I did for World of Tomorrow].

Some were very cartoon-ish and stylized, and some were more realistic. These realistic passes did go the final round, but were passed by for the finals by the client.

This is part two, in the series I have started on my custom design and modeling services I offered to E-Marketing back in 2008, while in-house at The Cimarron Group in Hollywood, CA.

A little airport with all the fixin's, is up today for your viewing. Each custom designed city block was used in an interactive online map of sorts, that we only saw from up high in the iar above it[ virtual air!]

However there was a chance that they would expand this site, so they had me build out extra details on the designs, so that they would work up close a bit too.

This was a 7-8 Hr project form start[ with no design yet], to a final FBX asset exported over for the Maya user they worked with in AZ to finish out.

As a 3D Designer,
my clients come to me without a design, knowing that as an Art Center
trained professional, I will design as I build, to cut out the middle
step and expense involved.

This
is my 99th post for the work I did on the TV show[ Uno Mas to 100!], The
Phantom 2040 from in the early ninety's, and I have posted a few more of the color keys that I did for a variety of props here today.

I was trained in their Automotive Design program in the late 80's and early 90's during the Pre-Computer rendering era at Art Center, and our primary fast color work was done with markers, chalk, and colored pencils, [ with a touch of Gouache'], so this is how I keyed the colors for the show since we were not using traditional painting of the cells for our production, but the then new, digital ink-n-paint , as this was very early on in 93'.

If you are a FAN of The Phantom 2040, and on FACEBOOK, there is a group for that.... here.

There is a TAG on the list to the RIGHT for other Phantom 2o4o entry's, but you can click this as well.

For this first part in the series I will cover the old styled Drive In that I built out. A full square set piece from entry to exit. I had built out a Drive In years earlier while I was still at Walt Disney Imagineering back in the 90's for a Scream Attraction, so I was well versed in the look. I am also a real vintage and antique buff myself, so this is a subject matter dear to me, and that makes these jobs not just more fun, but a whole lot easier to do.

I built out the Neon Signs, entry ticket booth, the projector house with snack bar, and the screen itself. I also built out the parking spots at an up angle to view the film like they did back then, as well as the window speakers and a fence all around the perimeter.

This was a 6-7 Hr project form start[ no design], to a final FBX asset.

As a 3D Designer, my clients come to me without a design, knowing that as an Art Center trained professional, I will design as I build, to cut out the middle step and expense involved.

Tuesday, April 24, 2012

The rendered shot I sketched over to create the design for the Raveoneettes "Heart of Stone" concept production design.

A 3/4 view of the 3D scene I built to sketch over.

Here is the rough sketch on tracing over the print out from the 3D grid.

Here all all three layers still together

Here is the final Line art for the inside of the head.

The final delivered Image[ re-posted].

Production Design: Raveonettes' Music Video: Heart of StoneHead Design Development PART IV

Client: Blind.Art Director: Chris Do.Project Date: January 2010

Today
I have posted my fourth part, in a series on the Production Design work I
did for the Music Video Heart of Stone by the Raveonettes, and for
today I am showing the 'behind the process', in the creation of the head set-piece.

I had just 4 Hrs total to complete the task, including
designing it out, and sketching a single image accurate in 3D space so a
team of 3D modelers could build off the one sketch as in my last post on the Torso.

I had a lot of fun especially in the head area as a designer. I liked the old camera in there for the eye as I am a collector of these myself, and I added in the Old style ticker tape machine up in the "brain" area as well. Speakers and a Mic in the ear, and a furnace in the throat too.

It has been a few years since my first post so I thought I would put up a few more of the icon Double "D" logos I did for the film Daredevil back in 2002 a decade ago.

These were early on in my 3D logo building days a decade back and we explored about a dozen conceptual directions. Today I have a both the 'bug' or little corner icon double D, as well as a full one sheet teaser logo with a full 3D field background done for the premiere.

I have a few added images I will post this year as well as we explored architectural logos made from architecture and the like, so stay tuned.

Thursday, April 19, 2012

Here is the base 3D torso I built out for the perspective grid to sketch fast over.

A 3/4 view showing the 3D base scene with the grids for perspective I built using a cone, and plane object.

The first 2D Blocking over the copy of the 3D render, done on tracing paper.

Here are all three layers, still taped together with the 3D render print first, the blocking, and ending with the velum final lines.

Here it is scanned hiding what is under the velum for shading.

The final delivered Image[ re-posted].

Production Design: Raveonettes' Music Video: Heart of StoneTorso Design Development PART III

Client: Blind.Art Director: Chris Do.Project Date: January 2010

Today I have posted my third part, in a series on the Production Design work I did for the Music Video Heart of Stone by the Raveonettes, and for today I am showing the 'behind the process', in the creation of this piece.

To start off, I had just 4 Hrs total to complete the task, including designing it out, and sketching a single image accurate in 3D space so a team of 3D modelers could build off the one sketch. They did have a bigger budget, but I was brought in at the 11th hour to 'put out a fire', so to speak and delivered theses designs this way in the time allotted.

To do this fast I started in 3D and built out a quick torso with a few main elements in there and did a quick grid render. I use 3D Perspective Grids in the same way I use 2D ones.

I printed the render out, and did a tracing paper overlay and blocked in the design. I then overlaid that with the velum, and proceeded to do the final line art. Once scanned in, I added a bit of shading to finish it out in Photoshop and delivered the JPG.

I will be posting a few additional sketches in the next weeks to show the other design areas I covered, all in about 3.75-4.00 Hrs per design delivered to Blingd for production to build it out.

This
is my fifth posting on Sky Captain and The World of Tomorrow, I have posted a bit of Motion
Graphics work that I performed when I was in-house as the 3D designer
over at BLT and Associates in Hollywood, CA, for the film World of Tomorrow[ Sky Captain].

The film was originally titled World of Tomorrow before Paramount changed the name, so our concepts were done with that in mind.

It was a simple task to do some sepia toned old styled logos as seen in the 1940's, so I hyper-extruded some text and created a few looks. Some on black and some coming up from the clouds. Alen Petkovic eventually presented a few looks animated in Motion Graphics and they h liked them, however with the name change came a look change as well. A fun exercise all in all though, enjoy the post.

This
is my 98th post for the work I did on the TV show, The
Phantom 2040 from in the early ninety's, and I have posted a few overlay drawings that I did for some fashion designs I needed for the series.

As the Conceptual Designer and Art Director for the series, I came up with the overall look of the world, and that obviously included fashions worn by the main characters. I have a few friends who did that so I consulted them at the time and moved ahead.

What you see above are my overlay drawings for various outfits for characters including Guran, Dr JAK, and the various servant B.I.O.T.'s found on the series that I created these many various types of outfits for.

The "tall and thin" characters with wrapping, soft curved shapes from the Art Nouveau look was applied to all designs as well as the 2040 look developed in the architecture and industrial designs present in this fantasy world of the future to everything including what was worn or changed into foe the specific shows.

If you are a FAN of The Phantom 2040, and on FACEBOOK, there is a group for that.... here.

There is a TAG on the list to the RIGHT for other Phantom 2o4o entry's, but you can click this as well.

BabelFish Universal Translator Widget

About Me

Trained in Transportation Design at Pasadena’s Art Center College of Design, I have worked for the past 24 years in every facet of Entertainment Design as Conceptual Designer, up to Design Director. I am currently running my design studio full time out of my home in Littleton, CO.
In the past, I have orchestrated teams as large as 100 on an international level , and as small as a few artists. Art Center gave me the formal training in Industrial Design via sketching and modeling to execute my designs.
The variety within the Entertainment Industry that I have been involved with includes: Television Commercial Set Design, 2D Animation Television Series, Restaurant Design and Illustration, Real Time 3D Interactive Gaming, Online 3D Web interface, CD ROM Magazine Design, Theme Park Attraction Design, and finally ending up in Entertainment based Advertising for Theatrical Films.
I have experience starting up both 2D, and 3D design departments, as well as moving into existing studio infrastructures of operation and working within established systems already in place.